Moll, who lives on the island, was subjected to high-pressure discipline by his family after he stabbed a girl who bullied him when he was a teenager. At a birthday party, trying to be perfect to please her mother, she was stole the limelight by her sisters and went to a nightclub alone to relieve her worries. Some people get acquainted with the male protagonist by touching Moll's hands and feet by the male protagonist Pascal, and gradually attract each other, becoming each other's life-saving straw. The good times don't last long, Pascal is regarded as an important suspect of serial killers on the island, and Moll has to face his past and make a choice while protecting his lover.
In general, as a director's debut feature film should be considered good. The technology is still excellent, the heroine's performance is remarkable, and some plots are also very exciting. But the biggest problem is that the artificial design is too obvious and the force is too much.
1. One can see at a glance the predicament of the designed characters and the emotional trend under the influence of external factors, rather than a flesh-and-blood person facing the troubles of reality. Some plots and character arrangements are simply too functional. For example, he was stole the limelight by "the child that mother loves more" on his birthday, so he crushed a glass and self-harmed. When he went to a bar, he was manipulated by a boy, and was rescued by a gun by the host. , the two approached slowly despite the opposition, and then quarreled. Finally, the quarrel turned into a confession. The male lead became the life-saving straw for the female lead to escape from the family... Does it sound cliche? You don't have to look to see how it's going. For another example, the police arrested the two of them in the same place as a school building in the middle of the night, and suddenly a tough female policewoman from outside appeared. This man never appeared again. So I feel that the director's mind is not here, and it is probably all about the psychological warfare in the second half. This leads to the second question.
2. Create suspense for the sake of weirdness, and create turning points for the sake of surprise. The whole film is 1 hour and 47 minutes, and it took 2 and a half hours to watch it. The second half is more exciting than the first half, and the rhythm and emotions are fuller than the first half, not just looking at the skeleton. But there are many ups and downs, but most of them are emotional stimuli without a progressive relationship. It’s like pushing you around in circles again and again. In order to prevent the audience from guessing the direction of the plot, the clues given in the second half of the film were almost cut off, and a number of smoke bombs that did not make sense were also thrown, causing the audience's mind to be messed up like octopus tentacles. Channeling, unable to build up. For example, before seeing the female police accusing the female protagonist of having murderous tendencies, the director arranged for the female protagonist to dream that she was the one who kidnapped and killed the girl. So after being hit, the heroine ran to find the girl who was accidentally injured by Ba Ling when she was a child. In order to prove to herself that she never thought about hurting her, the latter became emotional and her words implied that there was something wrong with the heroine. Such strong clues can almost all imply that the heroine has a split personality (especially in the later period when upgrading is often used), and finally found a false alarm. The evidence that the heroine finally suspects that the hero is the murderer is also extremely insufficient. From the initial establishment of the male protagonist's character to the final transformation, there is a broken bridge in the middle, and the foreshadowing is not strong enough. Logically, it can only jump over, and walking is impossible. And the heroine finally pretended that the two were the same. The female lead is so good that I really want to believe that she did intentional murder, and the male lead's transformation from a troubled teenager who suddenly admits to being a serial killer seems too thin in comparison.
Besides, there is another problem that I can't figure out. Why design an island? Shooting so much sea water? Apart from the fact that the prototype of the story takes place on the island, there is no feeling that this element has any effect on the story itself. You also only use sea water to express the inner emotions of the heroine, and it is very cliché to put it bluntly. Can't help but wonder, wouldn't it be better for the final scene to take place by the sea instead of the forest?
It seems a bit too much to complain, but it's actually not that bad. It's not good enough, but it's a decent film. The heroine's performance is really good, and many of the incomprehensible points in the plot are based on her performance. Personally, I think there is a score of 6.5, but after reading my rant, and looking at it again, maybe the score will be 7. :P
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